with perfume-bottles.-(Pl. lix.) offers, in two compartments, the whimsical desigu of a man falling from an ass, and another man running towards him.-(P. Ix.), from a vase in the Royal Museum at Naples, represents three fine female figures; one holds a box, containing probably some offerings for a divinity; another caresses a little winged genius or Love ; near the third is a swan, the emblem of domestic virtues. Although this picture does not present any determined object, it is highly interesting from its details, the elegance of its composition, and fine execution.

We trust that our slight indication of the principal subjects, exhibited in each Plate of Mr. Millingen's splendid volume, may prove acceptable to many readers; but they must consult the work itself if desirous of examining his learned illustrations, which fully evince an intimate acquaintance with classical antiquity, and consummate skill in a most interesting brauch of archæology.

NUGÆ.

No. Vill.-[Continued from No. LV.]

collecting toys
And trifles for choice matters, worth a sponge ;
As children gath'ring pebbles on the shore.

Paradise Regained, iv. 325.
IN No. lv. of this Journal, p. 90, 1. 10, read,

Impigra præcipiti celerabat Luna meatu,

Atra quidem, at radiis circum illustrata supernis. The verses “Ad Chrysidem," p. 172, ought to have concluded as follows:

αλλά σύγ' δν σέβομεν τώδ' ήματι, παί Κυθερείας,

*

*

*

θελξινόου διδαχή πειθούς, λυτήρ οδυνάων,

πάσης ανθρώποις πρόδρομος αγλαΐης" σοι μέν παρθενική πάσ' εύχεται ήματι τώδε,

σοι δ' αυ παρθενικής ήfθεος ποθέων: κέκλυθι δη και εμείο, κόρη δε συ θυμόν τήνης,

ως ιλάση, τάλανος δ' αντεράση Λυκίδου.

Hom. Odyss. iv. 169, Speech of Menelaus to Telemacbus.

*Ω πόποι, ή μάλα δη φίλου ανέρος υιός εμόν δω
ίκεθ, ος είνεκ' έμείο πολεϊς έμόγησεν αέθλους
και μιν έφην ελθόντα φιλήσεμεν έξοχον άλλων
'Αργείων, ει νωϊν υπείς άλα νόστον έδωκε
νηυσι θοήσι γενέσθαι 'Ολύμπιος ευρυόπα Ζεύς
και κέν οι "Αργεί νάσσα πόλιν, και δώματ' έτευξα,
εξ ' Ιθάκης αγαγών συν κτήμασι και τέκεϊ ώ,
και πάσιν λαοίσι, μίαν πόλιν έξαλαπάξας
αι περιναιετάουσιν, ανάσσονται και εμοί αυτώ
καί κε θάμ' ενθάδ' εόντες εμιογόμεθ' ουδέ κεν ημέας
άλλο διέκρινεν φιλέοντε τε τερπομένω τε,

πρίν γ' ότε δή θανάτοιο μέλαν νέφος αμφεκάλυψεν. Such a proposal carries with it an appearance of absurdity to modern ideas; yet a similar one is made by the Sultan to the Prince of the Black Islands in the Arabian Nights, and accepted. (Night xxvii.)

Grecisms and Latinisms in English writers.

[Continued from Nos. XLVIII. and LIII.) Gifford's Massinger, vol. i, p. 190. (Unnatural Combat, Act 10, 90. 1.)

Or twine mine arms about her softer neck i. e. her soft neck: our old poets frequently adopt, and indeed with singular good taste, the comparative for the positive. He quotes the foilowing as instances :

When I shall sit circled within your arms,
How shall I cast a blemish on your honor,
And

appear only like some falser stone
Placed in a ring of gold, which grows a jewel
But from the seat which holds it!

Old Poem.
- I beseech you
To tell nie wbat the nature of iny fault is
That hath incensed you ; sure 'tis one of weakness
And not of malice, which your gentler temper,
On my submission, I hope, will pardon.

, I , .

Unnatural Combat, as above. Judge pot my readier will by the event.

Virgin Martyr. This

usage (which Mr. Gifford has not exactly detined) corresponds with that of the Greeks (Matthiæ § 457. 3.) and the Romans; especially in some particular words, as vectegos, ocior, &c.

The double negative likewise occurs frequently in our elder writers :

And he hoped they did not think the Silent Woman,
The Fox, and the Alchymnist, outdone by no man.

Sir J. Suckling's Session of the Poels. He had not a word to say for bimself, nor kaew not in the world what to allege in his own excuse.

Old Translation of Gusman d'Alfarache. So Massinger:

in the blossom of my youth, When my first fire knew no adulterate incense,

Nor I no way to flatter but my foudness. The same idiom occurs in our established translation of the Bible.

The late accomplished translator of Ariosto has copied this ancient idiom :

Death,
Nor yet discomfort, never enter here.

Rose's Orlando, Canto v. It appears to be one of those nodes of expression, which having been originally in common use, have now become vul-. garisms ; such is the usage of “as” for the pronoun “that," which is to be found in Locke and other writers, (Essay on Human Understanding, Vol. i. p. 94, ed. 1817, note: “ These words of your Lordship’s contain nothing as I see in thens against me.” So Osborne :

So Osborne: “Under that general term were comprehended not only those brain-sick fools as did oppose the discipline and ceremonies of the church,” &c.), and many other phrases, as well as modes of spelling and pronunciation, inflections, &c. which are now confined to the common people, or to particular districts.

Extract from “ Luther's Table Talk,” in the Tenth Number of the Retrospective, p. 298. “He shed the blood of many innocent Christians that confessed the Gospel, those he plagued and tormented with strange instruments;" i, e, others, TIÙS è, in Latin, illos.

In the dedication to Bishop Taylor's Ductor Dubitantium, a remarkable number of Grecisms and Latinisms occur. 6. It was impossible to live-but as slaves live, that is, such who are civilly dead, and persons condemu'd to metals (mines).”

2

my way of life

How our joys are mere and unmixt.” « I was willing to negotiate (negotiari) and to labour.”

s. You will best govern by the arguments and compulsory of conscience, and this alone is the greatest (@V TOŪTO Néyiotov) firmament of obedience.”

Vol. iv. of Gifford's Massinger, p. 304, note, Mr. Gifford observes on Shakespeare's expression,

Is fall’n into the sere, the yellow leaf-“ The fact is, that these ingenious writers” (Mr. Gifford's stipites, fungi, &c.) “have mistaken the phrase, which is neither more nor less than a simple periphrasis for life.” He cites examples of this periphrasis from the old dramatists :

So much nobler
Shall be your way of justice.

Massinger's Thierry and Theodoret.
Thus ready for the way of death or life,
I wait the sharpest blow.

Pericles. So the Greek tragedians :

τρισσαί μ' αναγκάζουσι συμφοράς οδοί,
Ιόλαε, τους σoυς μη παρώσασθαι ξένους.

Eurip. Heraclid. 237.
ούτοι πέφυκα μάντις, ώστε, μη κλύων,
εξιστορήσαι σών οδόν βουλευμάτων.

Id. Hecub. 749. Ib. p. 318. .

I pray you, take me with you; i. “ let me understand you.” Thus ou regspépet in the latter Greek writers. Polyb. iii. 10. ών χωρίς ουχ οίον τα ην συμπερ

. . . μενεχθήναι δεόντως ούτε τοϊς νύν λεγομένοις, ούτε τους μετά ταύτα Promo quévous úp' muñv : “absque quibus non licet intelligere,” &c. In a late poet we have :

No voice from some sublimer world hath ever

To sage or poet these responses given : i. e. hæc responsa, a response on this subject-a solution of certain difficulties which had been previously spoken of. Another modern poet has not scrupled to imitate the classical anacoluthon :

Has Hope, like the bird in the story,

That flitted from tree to tree
With the talisman's glittering glory,

Has Hope been that bird to thee?
The following lines, by Joannes Charga, an Italian poet,
VOL. XXVIII. ci, Jl,

NO, LVI.

I

e.

a

appear to us singularly expressive of the feelings natural to a person in the situation of the writer.

Senex resipiscit.
Hei mihi misero, hei mihi!
Tempus quam cito præterit !
Homo quam cito deficit !

!
Et mors quam cito criminum

Ponas exigit omnes !
Magnam qui bene fecerint
Mercedem referunt: ego
Annis jam gravis, et gravis
Culpa, en distrahor omnium

Per tormenta malorum.
Nox cæcis tenebris premit
Morbo languida lumina :
Menti et sensibus incubat
Quidquid est iniserum et grave :

Vivum es, Charga, cadaver,
Vivum: vam patula vigent
Aures; sed tuba, in ultimum
Quæ te judicium vocat,
Quali, proh pietas, sono

Metus duplicat omnes !
Ergo tam miser et nocens
Ad quem confugiam, nisi
Ad te, Rex meus, et Pater?
O Rex, O Pater, O Deus,

Tu mei miserere.
O et perfugium et salus
Humani generis, pie
O Jesu, precor, ah precor
Illa luce novissima

Tu mei miserere.
Tu quem sanguine, quem cruce
Æternis redimis malis,
Pro tua pietate me
Æternis recrea bonis,

Et mei miserere.'

1. These lines have much of the pathos of Herrick's beautiful “ Litany;"